narcissistic

Oscar 2022-03-21 09:02:24

The biggest problem with "Mank" comes from its formal contradiction. On the one hand, the texture of the picture is deliberately made old, and on the other hand, the directing skills are extremely modern. The 21:9 format, the lens movement that can only be achieved by Steadicam, all constitute a formal separation.

The text is amateurish from every angle. Even the most common biopic screenwriter wouldn't write a movie that requires readers to look up background material to understand it. The character of Mank is basically missing at the beginning and end of the movie, and the growth of the character is basically missing. The screenplay with high eyes and low skills indulges in cynicism, and it does not even reach the average level of the annual mass production of Chong Ao Ba Gu.

Photography shoots ps film against digital, and it turns out that both benefits are lost: neither the ultra-high dynamic range of "Roma" digital photography, nor the charming film grain of "Cold War". The photographer of this film has only shot American dramas before, and he may have tried his best to overcome technical difficulties to make it like this.

Compared with "Once Upon a Time in Hollywood", Quentin has built a solid group portrait, a believable atmosphere and an abundance of emotion. And "Mank" is clearly lost in self-righteous preaching.

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Extended Reading
  • Jaden 2022-04-20 09:01:59

    Like "Once Upon a Time in Hollywood", this kind of film recalling film history is really ugly! ! Long and boring. white eyes

  • Enola 2022-01-03 08:01:40

    The final monologue saved Manke's personal image, otherwise this piece would be a gorgeous empty account with numerous clues. The great thing about "Citizen Kane" in film history is that it is the first film with no answer and no chronological sequence. Each flashback is a separate piece to build a Kane that cannot be coherent with before and after, memory. The multi-layered conflict created Kane's most dazzling image of Shakespeare. If Fincher understood "Citizen Kane", he would not use trivial but time-coherent flashbacks to constantly superfluously complete a character who has been seen through from the outside to the inside from the beginning of the film. Using such a cumbersome narrative technique to portray Mank, who pioneered the innovation of narrative methods in film history (if "Citizen Kane" is really attributed to him), is not considered a kind of unconscious clumsiness caused by limited level. The conclusion is that a creator who loves his character does not mean that he agrees with his behavior, viewpoints and personality. Writing a character in a complimentary tone will definitely be hopelessly abducted. The right example is really under the nose of Vinci in the film: "Citizen Kane", which is mentioned repeatedly by all the characters.

Mank quotes

  • Herman Mankiewicz: [referring to "Citizen Kane"] I hope, if this gets made, you'll forgive me.

    Marion Davies: And I hope, if it doesn't, you''ll forgive me.

  • [a drunken Herman Mankiewicz sits at the corner of a large dinner table at an elaborate costume party, hosted by William Randolph Hearst and Louis B. Mayer. Instead of tinking on a glass to get the guests' attention, he slashes his glass with a knife. Gasps fill the room as he rises from his seat]

    Herman Mankiewicz: I've got a great idea for a picture, Louis. A picture I just know you're gonna love. It's a modern day version of Quixote!

    [Mank realizes his voice echoes through the room, but he continues, circling the table full of silent guests]

    Herman Mankiewicz: Now I know none of you read, but you know what it's about. A deluded old nobleman, who tilts at windmills. So how might we update this story?

    Butler: [whispers to Hearst] Do you want me to get someone?

    William Randolph Hearst: No.

    Herman Mankiewicz: How about we make our Quixote... a newspaperman? Who else could make a living tilting at windmills? But that's not enough... no, he wants more than readership. He wants more than adulation, he wants love. So, he runs for public office, and because he's notably rich, he wins... no, w-w-w-wait a minute. Notably rich and powerful, can't win over an audience unless notably rich and powerful sees the error of his ways in the final reel. Notably rich and powerful and making no goddamn excuses for it is only admirable in real life. Isn't that right, Louis?

    [Mayer glares at Mank as he drunkenly attempts to light his cigarette with the massive fireplace at the end of the room, unsuccessfully. Marion Davies takes a swig of her drink]

    Herman Mankiewicz: So what do we do? Anybody? We give him ideals! Ideals that any dirt-poor, depression-weary audience can identify with. Our Quixote is against crooked trusts, he's for the eight-hour workday, fair income tax, better schools. Why, he's even for government ownership of railroads. And you know what we call those people?

    Male Guest: Communists!

    Female Guest: Anarchists!

    Herman Mankiewicz: No, our Quixote, he's a two-fisted muckraker. In fact, someone predicts that he will one day win the presidency and bring about, get this...

    [laughing uncontrollably]

    Herman Mankiewicz: ... a socialist revolution!

    Louis B. Mayer: What a bunch of bullshit.

    Herman Mankiewicz: Is it? Tell him, Willie. Tell him.

    [Silence]

    Herman Mankiewicz: Upton Sinclair used exactly those words to describe a young William Randolph Hearst.

    Louis B. Mayer: [leaping from his seat] You miserable bastard!

    Herman Mankiewicz: [bowing] How do you do?

    [Some guests begin to leave the room, but Hearst's and Mayer's eyes stay on Mank]

    Herman Mankiewicz: Our Quixote, he hungers, he thirsts, he lusts for the voters to love him, love him enough to make him president, but they won't. And they don't. How do you suppose that could happen? Could it be because, in their hearts, they know he values power over people?

    [More guests leave as Mank approaches Hearst, still seated]

    Herman Mankiewicz: Disillusioned in Congress, he authors not one single piece of legislation in two terms. Can you believe that? That'll take some writing. Placed in nomination for president... it's too radical for the boys in the back, his bid goes nowhere! But we're doing something. We're building sympathy!

    [Even more guests leave]

    Herman Mankiewicz: Rejected, he flees to lotus land, where his faithful troll, Sancho, has prepared a mythical kingdom for...

    [Mank eyes Davies, stopping himself totally]

    Herman Mankiewicz: Wait a minute. I forgot the love interest! Her name: Dulcinea.

    [Every remaining head in the room turns to Davies]

    Herman Mankiewicz: Funny, adventurous, smarter than she acts. Ah, she's a... she's a showgirl! Beneath his social stratum, but that's okay because true love on the big screens, we all know is blind. And she... well, she loves him, too. So he takes her away to his m-mythical kingdom,

    [to butler]

    Herman Mankiewicz: can I get a bicarb?

    [back to the guests]

    Herman Mankiewicz: Now, along comes nemesis, that's Greek for any guy in a black hat, nemesis runs for governor, and he's a shoo-in to win. Why?

    [points to Hearst]

    Herman Mankiewicz: Because he's EXACTLY what our Don used to be! An idealist, ya get it? And not only that, nemesis is the same guy who once predicted that our Quixote would one day preside over a socialist revolution. Our Quixote looks into the mirror of his youth and decides to break this glass, a maddening reminder of who he once was. Assisted by his faithful Sancho

    [pointing to Mayer]

    Herman Mankiewicz: and armed w-with all the black magic at his command, he does just this. Destroying, in the process, not one man... but two.

    [Hearst is clearly furious, but maintains his composure]

    Herman Mankiewicz: Well, what do ya think, Louis? Hm? Do ya think it'll play?

    [Mank finally belches onto the floor. Any guest who hasn't already left does so]

    Herman Mankiewicz: Don't worry, folks. The white wine came up with the fish!